Bassist Moppa Elliott Releases Triple Album Jazz Band/Rock Band/Dance Band

Hot Cup Records is proud to present Jazz Band/Rock Band/Dance Band, the triple-album release by bassist/composer/arranger Moppa Elliott. Featuring three drastically contrasting ensembles, this project displays Elliott's talents as a composer, bandleader, and artist who is willing to constantly challenge his audience - and himself.

The bands featured on these albums include jazz band Advancing on a Wild Pitch (Elliott, Sam Kulik, Charles Evans, Danny Fox, Christian Coleman), rock band Unspeakable Garbage (Elliott, Jon Irabagon, Nick Millevoi, Ron Stabinsky, Dan Monaghan), and dance band Acceleration Due to Gravity (Elliott, George Burton, Mike Pride, Nate Wooley, Dave Taylor, Matt Nelson, Bryan Murray, Dr. Kyle Saulnier, Ava Mendoza).  Each of these ensembles presents a different side of Elliott's musical personality and diverse array of influences which have lurked beneath the surface of his work with MOPDtK, but are given full voice on these recordings.  All of the music is united both through Elliott's foundational bass playing and his penchant for manipulating and subverting traditional song forms, melodies, and harmonies.

Each composition or arrangement is named after a town in Pennsylvania, as has been the case with Elliott's titles since 2004, and each band is named after the theme around which it was built.  Elliott's previous release as a leader was 2016's solo double-bass album Still, Up in the Air.  He founded the label Hot Cup Records in 2001, has led the ensemble "Mostly Other People Do the Killing" since he created it in 2003, and has taught choir, orchestra, music theory, and music history to high school students in the greater NY area since 2004.

On these three recordings, Elliott explores aspects of his musical personality that have not yet been fully documented.  Having grown up in a household where Cecil Taylor, Miles Davis, John Coltrane, Igor Stravinsky, and Steve Reich were all in heavy rotation on the family turntable, Elliott developed an interest in many styles of music, encountering rock and roll through the popular culture of his childhood, and hip-hop while a student at the Oberlin Conservatory.  In addition to the music presented on these recordings, Elliott performs new music with the "Relache Ensemble" in Philadelphia, serves as principal bassist of the Litha Symphony in Chelsea, NYC, and continues to lead the jazz ensemble "Mostly Other People Do the Killing."

Advancing on a Wild Pitch is comprised of musicians who all resided in Astoria, Queens (pianist Danny Fox has foolishly relocated to Brooklyn) and are avid baseball fans.  The five members have known each other since the mid-2000s, but the quintet was formed in 2016 to explore some of Elliott's compositions from MOPDtK in another context.  Rather than disassembling Elliott's tunes in the manner of MOPDtK, AWP approaches the compositions from the perspective of the classic jazz era of the early 1960s.  Some of the tunes are reimagined versions of pages from the MOPDtK book, while others, such as "Slab" never fit the aesthetic of Elliott's earlier ensembles.

Unspeakable Garbage allows Elliott and his jazz-trained bandmates to explore the sound world and musical vocabulary of 1980s rock and roll, a style that all the members love dearly and has had a profound influence on their musicianship. In the early 2000s, Jon Irabagon briefly led a band called "Starship's Journey: A Tribute to the Music of the 80s" in which the ensemble would perform cover versions of pop tunes and play all of the instrumental solos in unison.  Elliott composed the music for this band in the aftermath of a difficult breakup, and the cathartic nature of the music is plain to hear.  UG performs "instrumental van Halen" or "Def Leppard with no singing" or "Aerosmith with more chords" or "Pat Benatar singing a TV sitcom theme."

Acceleration Due to Gravity is the result of the 18-year friendship between pianist George Burton and Moppa Elliott.  The two met at the Pennsylvania Governor's School for the Arts, a sadly defunct state-funded arts program that they both attended and subsequently taught at.  Given their differences in approach, Elliott formed ADtG to be the type of ensemble in which they could both thrive, and the influence of drummer Mike Pride, a longtime collaborator, contributed to the aesthetic.

The music is based on Elliott's idea of "dance music" in its many modern forms.  From jump blues to hip-hop, American dance music has revolved around grooves and their myriad possibilities.  Each composition is based on a musical cycle or loop that never repeats itself, exactly.  The model for these compositions was modern hip-hop, R&B, and dance music production in which the music relies heavily on "loops."  Rather than repeat the same rhythms or musical elements exactly, they change subtly very often. The soloists take turns offering 'verses" or "bars" and there is deliberately little material that could be considered a primary melody, "head," or "hook."

Catherine Russell's Alone Together Receives Critical Acclaim, Rises on Charts

Catherine Russell's seventh studio album as a leader, Alone Together (released March 1 on Dot Time Records), is another step in the career of the versatile and timeless vocalist. Alone Together was the most added album in the first week of release on JazzWeek charts and became their #1 jazz album (now two weeks in a row); additionally, it debuted at #6 on the Billboard jazz charts, hit #1 best selling new vocal jazz release on Amazon, and "Is You Or Is You Ain't My Baby" hit #2 on the iTunes jazz songs chart. The momentum will continue with Russell's appearance in the upcoming feature film Bolden, as well as a run of dates with Steely Dan in the Spring and Fall, and some new performances added to her ongoing international tour (check tour schedule below for updated itinerary).

Drawing on composers and lyricists of The Great American Songbook—Irving Berlin, Eddie de Lange and Jimmy Van Heusen—along with songwriters from the Swing and Rhythm & Blues eras—Nat Cole, Louis Jordan, and Al Dubin and Harry Warren—Russell invigorates their creations on Alone Together. At the center is Russell’s voice, and while comparisons to Ella, Billie, Sarah, and Dinah abound—while flattering—she has a sound all her own.

In theaters on May 3, Russell will appear in the upcoming feature film, Bolden: a drama directed by Dan Pritzker, with music by Wynton Marsalis. The movie imagines the life of trumpeter Buddy Bolden, and the birth of jazz in New Orleans. The soundtrack album will be released on April 19 via Jazz at Lincoln Center's Blue Engine Records. Considering her pedigree (Her father, Luis Russell, and her mother, Carline Ray, were both pioneers of early jazz), it’s no surprise that Russell was cast to portray Lalique Lill, a madame who sings bordello blues. In addition to her singing and acting cameo in the film, she contributes vocals to the soundtrack album.

As noted on the Bolden website, “the birth of jazz was the birth of American popular culture, influencing everything that followed, from Louis Armstrong to Jimi Hendrix...Bolden is where it all began.” Catherine Russell embodies that continuum; a vocalist who curates material from the turn of the century to the present, who has recorded with David Bowie and been a member of his last touring band, and who as a child hung out with her parents at Louis Armstrong’s home.

THE GUMPTION, New Album by Juno Award and Polaris Music Prize-nominated Canadian Soul Star TANIKA CHARLES

Produced by a stable of some of Canada’s finest musical minds including DJ Kemo (The Rascalz, Kardinal Offishall), Chin Injeti (DJ Khalil, Eminem, Drake) and Daniel Lee (Hooded Fang, Phedre), Record Kicks proudly presents “The Gumption” the awaited new album by Canadian soul star Tanika Charles that will  hit  the  streets worldwide on May 10.

“What gave you the gumption?” Tanika Charles rhetorically asks during the introductory notes of her sophomore album appropriately titled The Gumption. While the apprehensive lover at the receiving end of that inquisition should feel slighted by the remark, it also alludes to the assuredness Tanika has gained since the release of her Juno Award and Polaris Music Prize-nominated debut Soul Run. The Gumption picks up where Soul Run left off, continuing her tradition of marrying classic soul with modern production styles. Across a dozen songs spanning 38 minutes, Tanika addresses moments of vulnerability, vindication, uncertain love, forbidden fruit and the state of the world today. “It’s a little more mature. It’s not feeling

guilty about being up front, not being afraid to address situations that aren’t comfortable for me. I’m comfortable in my skin now in a way I never was before. The overall theme is growth. I feel the music reflects that, and my words reflects that. Even the album cover tries to convey the feeling too. I’m not putting up with unnecessary nonsense anymore.”

Predominately guitar-driven mid-tempo soul, with a handful of dance floor friendly tunes and some psychedelic leanings, The Gumption was indirectly influenced by the likes of Alabama Shakes, The Supremes, Khruangbin, D’Angelo, and Moses Sumney. It is sonically moody at times, but with consistent silver-lining arcs. “I’ve grown up and learned to deal with situations significantly better. We have a tendency to hold back our innermost feelings for fear of hurting others. Even when we’re happy we worry about over-sharing, as if joy is a competition you don’t want to gloat about.”

The success of Soul Run propelled Tanika in front of new audiences far and wide, with extensive touring in North America and Europe. “I’ve been touring, experiencing new places and meeting new people. And in that time also worked on completing this album”. While criss-crossing Canada with festival appearances on both the east and west coasts, Tanika also embarked upon four overseas tours for a combined 45 European shows within a one year period. This included performances at the prestigious Trans Musicales Festival in France,   the Lärz, Germany Fusion Festival, Mostly Funk & Soul and Jazz Festival in UK, the Holy Groove Festival in Switzerland, and the Canarias Jazz Festival in Spain.

Polly Gibbons, singer of jazz, blues, and soul, called a "once-in-a-generation talent," releases first live album, recorded at Power Station in New York

Resonance Records discovery Polly Gibbons, a British-born star on the rise, has a sound and style that give off sparks. It's raw, raspy, and full of heat; it sputters and growls, carves out funky grooves, and wails into the skies. All I Can Do, her third Resonance release, the label's founder George Klabin, places Gibbons in front of an audience, where she's at her most explosive.

Recorded before an invited crowd at Power Station, the New York studio where Bruce Springsteen, the Rolling Stones, Paul McCartney, Madonna, and Sting made renowned albums, All I Can Do teams Gibbons with a smoldering quintet: pianist and arranger James Pearson (musical director at the legendary Ronnie Scott's in London); organist Shedrick Mitchell (who played for nine years with Whitney Houston); guitarist Paul Bollenback; bassist Richie Goods; and drummer Mark McLean. Guest pianist and arranger Tamir Hendelman is a first-call musician in Los Angeles, a first-call accompanist in Los Angeles; he can be heard on the CD and DVD of One Night Only: Barbra Streisand and Quartet at the Village Vanguard.

On All I Can Do, Gibbons roams the musical map while staying grounded in jazz, her home base. She finds the common thread in songs by Horace Silver, Prince, AND Al Jarreau. She borrows tunes from her idols-Nina Simone, Chet Baker, Donny Hathaway-and makes them her own. As Jon Sobel wrote in the Seattle Post-Intelligencer: "I hear echoes of Ella, Lena, Aretha, even Janis. But Gibbons is a full-blown phenomenon of her own."

The performance took place in 2018, an important year for her. That summer, Birdland, New York's premier jazz club, gave Gibbons a residency. She opened for Boz Scaggs at the Montreal Jazz Festival and played the Pittsburgh International Jazz Festival alongside Gregory Porter, Marcus Miller, and Tootie Heath. Gibbons performed regularly at Ronnie Scott's, her London headquarters. Her previous album on Resonance, Is It Me ...?, earned raves. Wrote John Fordham of The Guardian: "Gibbons has proven herself a versatile artist who can switch from an emotionally subtle Cleo Laine-like purr to a soul-gospel wail in a blink, and she has a growing authority as a co-composer with James Pearson ... Polly Gibbons is unmistakably a class act, getting classier fast."

A farmer's daughter, Gibbons grew up with her six siblings in Framlingham, a small market town in Suffolk, England. Early on she learned the meaning of the blues: "I've got super-loving parents, but I was very bullied at school, and there was quite a lot of illness in my family." At thirteen she heard her first Billie Holiday record. It led her on a chase to explore other black American musical greats: Mahalia Jackson, Aretha Franklin, Marvin Gaye, Miles Davis, Thelonious Monk. The "history and complexity and pain and anger and joy in that music," she says, "made me very excited and touched me."

In 2006, before she had released her first album, the BBC Jazz Awards nominated her in its "Rising Star" category. A few years later Gibbons was singing at Ronnie's in front of Van Morrison, who lauded her "great voice." The great arranger/composer Johnny Mandel-who has written for Peggy Lee, Frank Sinatra, and Shirley Horn-would later comment: "They don't come along very often, but this one's a star." Gibbons went on to open for George Benson and Gladys Knight in their U.K. tours, and (with Pearson) to score first place in the Indie International Songwriting Contest for their song "Midnight Prayer." Peter Quinn of Jazzwise proclaimed her "a truly exceptional, once-in-a-generation talent, possessing a voice of such sizzling intensity and raw emotion you could fry an egg on it."   

Her 2015 debut album on Resonance, Many Faces of Love, established Polly as one of the freshest jazz voices to hit the U.S. in years. All I Can Do shows her continued growth. Her version of the Horace Silver gospel tune "Permit Me to Introduce You to Yourself" mixes funk, scatting, and churchy organ and piano; Polly sings as fervently as a preacher in the pulpit. Jazz divas love to emote their way through "Everything Must Change," but Polly transmits its hard-earned lessons quietly. On a tip from Klabin, Polly sings a rollicking cover of a Della Reese showstopper, "Some of My Best Friends Are the Blues." She and Pearson wrote "All I Can Do Is Sing the Blues" in response to "the bad things in life," most of them stemming from current political mayhem on both sides of the pond.

          

Following the death of Prince, Gibbons was moved to sing "Nothing Compares 2 U," his great ballad of lost love, in a spare and mournful setting, "just Shedrick and James laying it down." "I Want a Little Sugar in My Bowl," the unashamedly naughty Bessie Smith blues, never fails to thrill Gibbons's audiences. Pearson takes it to church with an arrangement inspired by Mahalia Jackson records; Tamir Hendelman channels every style Gibbons loves into a panoramic solo.

All I Can Do reveals a young woman who, musically and expressively, is wise beyond her years.

TRACKS

1. Permit Me to Introduce You to Yourself (5:08)

2. Good Hands Tonight (6:28)

3. Beautiful Things (4:21)

4. If You Had the Chance (5:21)

5. Some of My Best Friends Are the Blues (6:36)

6. Anything Goes (4:30)

7. This Is Always (5:39)

8. All I Can Do (5:03)

9. Everything Must Change (7:23)

10. I'm Just a Lucky So-and-So (5:48)

11. Nothing Compares 2 U (6:24)

12. I Want a Little Sugar in My Bowl (5:20)

Pioneer Bass Virtuoso Stanley Clarke to Serve as 2019 Artist-in-Residence at Detroit Jazz Festival

The Detroit Jazz Festival Foundation proudly presents Stanley Clarke, undoubtedly one of the most celebrated acoustic and electric bass players in the world, as its Artist-in-Residence for the 2019 Detroit Jazz Festival presented by Quicken Loans. Clarke’s much anticipated return and performances will be a highlight at the festival, now celebrating its 40th year.

As the 2019 Artist-in-Residence, Clarke will support educational clinics for students across the region throughout the year and lead multiple performances during Labor Day Weekend. Clarke will also be featured during an April 2 preview luncheon at the Detroit Athletic Club to unveil the Festival’s 2019 full lineup; and perform at a fundraiser at the Dirty Dog Jazz Cafe that same night. Previously, his scheduled sets during the 2014 and 2017 festivals were cancelled due to inclement weather.

“Stanley Clarke is the perfect ambassador for our Festival during this banner year. His musical accomplishments, perennial career and commitment to the perseverance of jazz have unequivocally positioned him as a ‘living legend’,” said Chris Collins, president and artistic director of the Detroit Jazz Festival. “We’re fortunate to bring him back as the 2019 Artist-in-Residence for what will be an exceptional 40th year jazz celebration.”

Clarke is a 4-time GRAMMY® Award-winning, recording artist, performer, composer, conductor, arranger, producer and a composer for recordings and film. He truly has attained “living legend” status during his more than 40-year career as a bass virtuoso. He is the first bassist in history to double on acoustic and electric bass with equal ferocity and the first jazz-fusion bassist ever to headline tours, selling out shows worldwide. A veteran of more than 40 albums, Clarke’s creativity has been recognized and rewarded in every way imaginable. He was Rolling Stone’s very first Jazzman of the Year and bassist winner of Playboy’s Music Award for ten straight years. Clarke was honored with Bass Player Magazine’s Lifetime Achievement Award and is a member of Guitar Player Magazine’s “Gallery of Greats.” In 2011, he was honored with the highly prestigious Miles Davis Award at the Montreal Jazz Festival for his entire body of work. In September 2016, Clarke became a part of the permanent collection displayed at the Smithsonian’s new National Museum of African American History and Culture in Washington, D.C.

Clarke believes in giving back to help young musicians hone their skills. He and his wife, Sofia, established The Stanley Clarke Foundation fourteen years ago as a charitable organization, which offers scholarships to talented young musicians each year.

“Our mission of jazz not only brings dynamic artists and performances to Detroit but also showcases the discipline and creativity of jazz artists in our community,” continued Collins. “This mission and the support of our sponsors and supporters are what gives us the ability to deliver the world’s largest and best free jazz festival in the world.” 

Some of the Festival’s past Artists-in-Residences include Chick Corea, Wayne Shorter, Ron Carter and Pat Metheny.

The Detroit Jazz Festival Foundation is an independent, non-profit organization that presents jazz and educational workshops throughout the year. The Foundation supports the Detroit Jazz Festival presented by Quicken Loans, which is the largest free jazz festival in the world and a major tourist attraction for the City of Detroit, with 26 percent of its audience coming from out of state. For more information, visit detroitjazzfest.org.

Steel Pulse, Ben Harper, UB40 featuring Ali and Astro topline Califormia Roots Music and Arts Festival

The California Roots Music and Arts Festival (Cali Roots) attracts thousands of fans each year by showcasing the best in reggae, roots, and hip hop. As the festival’s presence continues to grow so does its efforts in environmental preservation, carving the path of producing an environmentally sound event. In 2017, Cali Roots introduced their “Redwood Pass,” which is their unique take on the VIP experience. The most compelling part is that for each pass sold, two redwoods were planted. In the first year, that resulted in 800 new redwoods, which rose to 1,800 redwoods planted in 2018-2019. To celebrate “The International Day of Forests,” Cali Roots is proud to announce that it will be supporting the planting of 2,400 redwoods through their close relationship with the Redwood Forest Foundation (RFFI) (www.rffi.org).

Festival Co-Producer, Dan Sheehan, states, “The Cali Roots movement is about developing and sustaining our community and that involves protecting our environment. When we learned that  redwood forests in California help remove more carbon from the atmosphere more than any other forest, we wanted to do what we could to help generate that movement. Teaming up with the Redwood Forest Foundation felt like a natural pairing and we are proud to keep working with such a great organization.”

“RFFI deeply values our partnership with Cali Roots. We benefit from the synergies in our values and goals as two grass roots organizations committed to enhancing the ecology, economy and building community in the redwood region. It is especially fitting that we announce the latest chapter of this partnership on The International Day of Forests at a time when we are all becoming more aware of the powerful role that redwood forests play in our lives,” adds RFFI President and CEO Mark Welther.

As climate change warms the Earth, trees serve as a valuable tool for reducing its impacts. Recent reports from the IPCC and other respected scientific research groups, support the position that we can use natural solutions like tree-planting to offset the damage while we work to develop technology to eliminate or reduce the production of destructive emissions like carbon dioxide and methane. Two of those solutions are tree planting and improved forest management. A third is improved agricultural practices including the placement of biochar in the soil to sequester carbon, enrich the soil, while reducing water usage. The Redwood Forest Foundation is involved in all three, which is why Cali Roots is so proud to continue to work closely with the RFFI.

It is also an added benefit that these magnificent, awe-inspiring trees provide a rich and varied habitat for wildlife on the ground and in their crowns. These majestic redwoods enrich the human experience and are symbolic of our region. Cali Roots and the Redwood Forest Foundation work throughout the region from Big Sur to the Oregon border to enhance the environment, the economy and build strong communities.

The tenth annual California Roots Festival will take place at the Monterey County Fair and Event Center, Memorial Day weekend 2019. Redwood passes are officially sold out, but can be found at the official Cali Roots ticket exchange https://lyte.com/californiarootsevents.

FESTIVAL DETAILS

The 10th Annual California Roots Music and Arts Festival

Dates: Friday, May 24, 2019 – Sunday May 26, 2019

Time: 10:00 am – 11:00 pm PDT

Venue: Monterey County Fair and Event Center

Address: 2004 Fairground Road, Monterey, CA 93940

Admission: VariesAge restrictions: All Ages

Previously Unreleased 1969 Recordings by Bill Evans with Eddie Gomez and Marty Morell at Ronnie Scott's Jazz Club in London

Resonance Records has announced their fourth official release in partnership with the Bill Evans Estate - Evans in England! This newly-discovered recording of the Bill Evans Trio features bassist Eddie Gomez and drummer Marty Morell captured live at the legendary Ronnie Scott's jazz club in London, England in December of 1969.

The limited-edition, hand-numbered 180-gram 2LP set was mastered by the legendary Bernie Grundman at Bernie Grundman Mastering Studios, pressed at Record Technology Inc. (RTI), and is available exclusively for Record Store Day and includes an 8-page LP insert. The deluxe 2CD set and digital edition includes an elaborate 36-page booklet with rare photos by photographers Chuck Stewart, Jean-Pierre Leloir and Jan Persson; essays by acclaimed jazz writer and author Marc Myers and producer Zev Feldman; plus interviews with Eddie Gomez, Marty Morell and filmmaker and Evans enthusiast Leon Terjanian. This recording captures Evans in a peak period of creativity at the helm of what would become his longest lasting trio.

TRACK LISTING

DISC ONE:

Our Love Is Here to Stay (4:42)

Sugar Plum (9:43)

Stella By Starlight (6:16)

My Foolish Heart (4:38)

Waltz for Debby (7:57)

'Round Midnight (6:37)

The Two Lonely People (8:03)

Who Can I Turn To (When Nobody Needs Me) (7:30)

DISC TWO:

Elsa (7:08)

What Are You Doing the Rest of Your Life? (5:39)

Turn Out the Stars (5:03)

Re: Person I Knew (8:51)

Goodbye (2:32)

Come Rain or Come Shine (5:05)

Very Early (4:45)

So What (8:22)

Midnight Mood (4:44)

Polka Dots and Moonbeams (3:54)

HOLLY COLE TRANFORMS LOSS INTO LOVE AND INSPIRATION ON "HOLLY"

The Great American Songbook repertoire is what many argue to be the pinnacle of American popular music and one of this country’s greatest cultural contributions to the world. Dating back to the 1920s and created by such luminary composers and lyricists as Cole Porter, George and Ira Gershwin, Irving Berlin, Duke Ellington, Richard Rodgers, Harold Arlen and Johnny Mercer among others, this timeless body of work has enchanted music enthusiasts for decades. These gems from Tin Pan Alley, the silver screen and Broadway have become the stuff that stars are made of. In the hands of the right artist this classic material has the ability to take on new life. Celebrated Canadian vocalist Holly Cole, who has stretched the boundaries of what a jazz singer can sing, illustrates this transformative ability on her 17th recording as a leader and Shanachie Entertainment debut, Holly. “The high quality songwriting from the classic American songbook and the timeless themes were crafted for interpretation,” says Holly. “This perfect combination enables me to explore subtext and make a very personal individual statement with each and every song.”

The epiphany for Holly Cole to record Holly evolved from a deeply personal experience centered around her mother falling ill. The singer decided to take off a few years from music so that she could take care of her mother in Toronto. This decision, which ultimately became life-changing. Upon her mother’s suggestion to embark on studying something new during this hiatus, the vocalist decided to study hypnotism, which eventually led her to her studies on Neuro-Linguistic Psychology. Sadly, Holly’s mother passed during the recording of the album but Holly clung to her mother’s advice to keep reaching for something new. In her search, Holly ended up buying an old barrel factory from 1845 on the coast of Nova Scotia. “Restoring this old building is a beautiful project for me and incredibly creative too,” confides the singer who influences include such diverse artists as Nina Simone, Roberta Flack, Anita O’Day, Ricky Lee Jones, Betty Carter and Tammy Wynette. “The concept aesthetically is old meets new. I want to retain a lot of the historic integrity. It is thought-provoking and beautiful. At the same time I also want to add more contemporary elements that contrast in an aesthetically pleasing but also intriguing way. I was a year into the renovation before it dawned on me that that’s exactly what I do with music.”

Holly Cole teamed up with Grammy winning producer Russ Tielman (Steve Winwood, Eric Clapton, James Taylor, etc.) and confesses to being a long time fan. This is the first album in which she did not wear the hat of producer. Holly features her long-time trio-mates, pianist Aaron Davis, bassist David Pitch and drummer David DiRenzo. Recorded in both Toronto and New York, Holly features Cole in various configurations with musicians she is playing with for the first time, including pianist/organist Larry Goldings, guitarist Ed Cherry, bassist Ben Street and drummer Justin Faulkner. Holly who was born in Halifax, Nova Scotia and based in Toronto says, “Along with being musicians with enormous integrity all of the musicians deeply understood my musical aesthetic. That’s priceless.” Holly Cole has been dazzling audiences with her flawless, earthy and rich vocals, impeccable taste and dynamic showmanship since she emerged on the scene over three decades ago. Holly is a wonderful introduction for those who somehow are just discovering this incredible talent and will be a cherished gift to those who are already converts. Holly Cole and her all-star ensemble manage to reinvent some of the most well-known and beloved classics and interpret them in a new and exciting way that embodies her personality and sublime artistry. “Capturing the spark of musicians connecting with one another and discovering the essence of the song while recording is rare and fantastic,” shares Holly. “I became a singer because I wanted to perform live. One of the things that I am most proud of is the fact that I believe much of the essence of my live performance has been captured on Holly.”

  

Track Listing:

1. I’m Beginning To See The Light

2. Your Mind Is On Vacation

3. I Was Doing All Right

4. It Could Happen To You

5. Ain’t That A Kick In The Head

6. Teach Me Tonight

7. We've Got A World That Swings

8. They Can’t Take That Away From Me

9. Everybody Loves Somebody Sometime

10. I Could Write a Book

11. Lazy Afternoon

Guitarist YOTAM SILBERSTEIN releases FUTURE MEMORIES

On his sixth album as a leader, Future Memories (featuring the superlative bassist John Patitucci, Glenn Zaleski, Vitor Gonçalves, Daniel Dor & Andre Mehmari), Yotam Silberstein continues to offer up unequivocal proof that for jazz musicians, Israel is one of the promised lands, and Brooklyn continues to possess the optimal environment for maximum artistic growth. Silberstein's playing is also testimony that the art form of jazz guitar, brought into vivid existence by Kenny Burrell, Wes Montgomery, Grant Green and many others, is alive and evolving in the hands of this artist. Commenting on Silberstein's previous recording The Village, AllAboutJazz said,"[his] unadorned hollow-body guitar work freely invites comparison to releases from the heyday of Blue Note Records . . . [however] he isn't piggy backing on memories. He's forging his own path with skills and style." JazzTimes Magazine added that, "since his arrival in New York in 2005, Israeli guitarist Yotam Silberstein has made an impact on the scene with his precision bebop lines and fleet-fingered improvisations."

Following up an album as compelling as The Village (jazz&people, 2016) may have seemed to be a daunting task. After all, Bill Milkowski called it, "his most fully realized recording to date" in a feature in DownBeat Magazine. However, Yotam Silberstein, ever forward-looking, took his music on many great voyages of distance, erudition, and immersion, into the music of Brazil, Argentina, Uruguay, Peru, Venezuela, and North Africa; developing real affinities with these cultures and traditions, to the point where they have been fully integrated into his own musical world.Silberstein elaborated, "I feel like all these new influences combined with my knowledge of jazz, blues, Israeli and Arabic music has merged into something very unique and beautiful." The result is the resplendent and bountiful, Future Memories, available on jazz&people now.  The NYC CD Release Celebration will take place at Dizzy's Club on April 2 & 3!

  

It is jazz under which Silberstein's various musical argots are united and blended with other sources of inspiration that, from Andalusia to the Far East, imbue his music. The New York Times concurred that, "Silberstein improvises in a cutting tone and writes heady original tunes that seem to tug the straight-ahead jazz tradition in new directions. You'll occasionally notice coiled rhythms and minor scales that recall Jewish folk music, but chatter in the patois of contemporary jazz."

It is with musicians the guitarist regularly tours with whom he has chosen to record Future Memories, in which in addition to his own compositions are three pieces by two great Brazilian musicians, the mandolinist Hamilton de Holanda and Paulinho da Viola, master of the choro and heir to the tradition of Jacob do Bandolim and Pixinguinha. It should come as no surprise that Silberstein has added to his quartet a Brazilian, Vitor Gonçalves. This Carioca by adoption, who has worked with Maria Bethânia and Itiberê Zwarg (a longtime member of Hermeto Pascoal's group), settled in New York in 2012, where his twin talents as a pianist and accordionist have not gone unnoticed. Gonçalves takes turn on keyboards on the album with Glenn Zaleski, one of the most remarkable pianists in NYC who has made his mark in Ravi Coltrane's quartet. The drummer, Daniel Dor, who came to prominence in the bassist Avishai Cohen's trio, stakes a claim as an invaluable first-call musician with his startling capacity to play odd meters, the various rhythmic underpinnings that are crucial to the success of Silberstein's music, and seemingly anything that his vibrant, inventive imagination can dream up, all with the utmost taste and flair, with the common good of the music his sole mission. Bassist John Patitucci needs no introduction. He has been a longtime member of the groups of two of the major figures in the history of jazz, Wayne Shorter and Chick Corea, and a regular collaborator with Silberstein, who was recently featured on the bassist/composer's new recording, Irmãos de Fé (Newvelle, 2017). Commenting on recording Future Memories Patitucci said, "everything really clicked with Yotam. He is a very intuitive, very emotional player, he's lyrical, he's also strong rhythmically, he has a voice, and he's also like an encyclopedia of Brazilian music! I really loved the way the colors were flowing all around."

Whether embracing the bewitching virtuosity of the caprichos of Hamilton de Holanda, or admirably managing the dangerous game of odd meters, his guitar can recapture the dancing accents of a Brazilian bandolim and simultaneously evoke, with a touch of nostalgia, the shores of the Mediterranean. Silberstein floats like a feather over a melody as simple as a lullaby, and convokes the conjugated spirits of the choro and flamenco. He is an artist who displays with a confounding maestria the range of his talents and the richness of his inspiration. If the guitar is the ideal nomadic instrument, Silberstein's playing has retained, from his travels around the globe, a variety of impressions that are superbly expressed in a rousing and inspired album - his most personal to date, in his own words-and opens like so many windows on the beauties of the world and the memories of the emotions they evoke in each of us.

English bassist and producer Richard Ford releases Basso Profondissimo

The musical world of Basso Profondissimo springs from the imagination of English bassist and producer Richard Ford. The collection was conceived and played on bass, creating a unique and surprising melding of sounds and adding some rough edges to the genres of jazz, ambient, bossa nova and neoclassical.

Sharing some of the same musical landscape as Sigur Rós, Lyle Mays, Bebel Gilberto, ECM Records, and Bill Frisell, Basso Profondissimo employs a cinematic language, often minimal and evocative. There are surprising moments, as when softer passages burst into something rougher and edgier. In the neoclassical-leaning pieces, unexpected elements surface, like floating transparencies revealed from somewhere back in the scenery. Elsewhere, bubbling rhythms emerge, cracking pieces open into exotic meters. This is not a work concerned with virtuosity (though references to seminal bassists like Jaco Pastorius can be heard in places). This collection is about evoking moods and character, not about flash.

Basso Profondissimo was recorded in Venice, California in the spring and summer of 2018, rooted in Richard's preferred creative method:  "I use my bass to chalk out ideas and the music takes off naturally from there."

All of the tracks were executed on basses, multi-tracked and treated. As Richard started to experiment with vocals (specifically the addition of the amazing Costa Rican vocalist Michelle Gonzalez) new possibilities emerged - including a full-blown, fresh cover of George Duke's Brazilian-influenced 'Malibu', which features a handful of world-class jazz musicians, among them renowned keyboardists Kait Dunton and Peter Gabriel alumnus Simon Clark.

The seeds of Basso Profondissimo were sown in late-80s New York, where Richard had begun recording demos, exclusively with basses. He was soon playing concerts in downtown performance spaces, both as a soloist and with his ‘Electric Bass Quartet'.  As he recalls, "There was a certain freedom to working solely with bass - and also an imperative to be sonically creative in new ways. The perceived limitations became inspiring challenges."

The project was put on hold when Richard moved to Los Angeles to work in film and film music. In that role, he has been an important member of director Alexander Payne's creative team since 1998, earning credit as Executive Music Producer on their last three projects together (The Descendants, Nebraska and Downsizing). As an Emmy-winning film music editor, he's played a role in many successful productions, among them American History X, Training Day, Sideways, Argo, and Hidden Figures.

Much of his work in film has involved reconstructing and remixing the music of others. While this has been creatively challenging, Richard felt "the itch to get the basses out of the closet and create something that truly came from me." Basso Profondissimo began to unfold.

Born in London, Richard grew up in a musical family, immersed in the classics from an early age. He began performing as a boy, in Andrew Lloyd Webber and Tim Rice's choir. His love of music eventually led to the bass, and he developed into an accomplished player. He has toured and recorded with many artists, including the revered guitarist Bill Nelson (in his band Red Noise) and upon moving to the US, singer-songwriter Joe Jackson.

In New York, Richard discovered and embraced an ever-expanding world of music and culture - perhaps most significantly through his study of African and Afro-Caribbean music and dance. The rhythms he found there grew to become part of his musical DNA.

These vast and varied influences have informed all of Richard's work and shaped the rich diversity evident in Basso Profondissimo. This signature collection is the culmination of Richard Ford's extensive musical journey to date.

New Releases: Aretha Franklin - Amazing Grace – The Complete Recordings; The Supremes – Produced And Arranged By Jimmy Webb; Brenda Holloway - Every Little Bit Hurts

Aretha Franklin - Amazing Grace – The Complete Recordings (4LP set)

A legendary album – one that has Aretha Franklin returning to her roots in gospel music – but working with all the strength and power that Atlantic Records had to offer! From early years recording as a young voice alongside her father's congregation, Aretha has matured into a hell of a lead singer – and really knocks it out of the park here alongside the mighty James Cleveland, and the Southern California Community Choir! While it might have been nice to record the set back home in Detroit, the California setting for the material works perfectly to elevate Franklin to a special place in the heavens – tying together her heritage in beautiful ways, and making for another great stride forward in her career during the 70s. One of the best ideas ever for a soul music concept album – with titles that include "Mary Don't You Weep", "How I Got Over", "Precious Memories", "Wholy Holy", "Never Grow Old", "Amazing Grace", and Climbing Higher Mountains". This package really expands past the original album – and adds in all these other tracks recorded during the proceedings, which were done over the course of two different nights in November of 1972 – with a mighty set of long tracks that quadrupalizes the original double album! ~ Dusty Groove

The Supremes – Produced And Arranged By Jimmy Webb

An overlooked moment of 70s genius from The Supremes – and from the great Jimmy Webb as well – given that the pop studio genius wrote, arranged, and produced the entire album! Jimmy had plenty of famous work under his belt by this point in time – including his famous collaborations with 5th Dimension – but the sound here is something completely different entirely, and very different than Webb's own records, as he was starting to find a voice of his own. Instead, the man is more than happy to let the vocals of the Supremes flow forth in this really heavenly way – with Jean Terrell now in the group instead of Diana, but never missing a beat in the lead – as she soars out in this sophisticated mix of strings and soul that's completely sublime! The songs are very fresh territory for the group, and the use of mostly Webb material on the record makes for a very unified set – almost the Supremes' answer to Minnie Riperton's fantastic first album with Charles Stepney, Come To My Garden. Titles include "Once In The Morning", "Cheap Lovin", "When Can Brown Begin", "Beyond Myself", "I Guess I'll Miss The Man", "All I Want", "I Keep It Hid", and "5:30 Plane". ~ Dusty Groove

Brenda Holloway - Every Little Bit Hurts

Classic heartbreaking soul from Brenda Holloway – one of the weepiest early records on Motown, as you might guess from the title! The style here is almost more New York uptown than Detroit at times – a fair bit like Maxine Brown with its mix of strength and fragility on the vocals, and scored by the Davis/Gordon team with a subtle sense of drama. Strings step in on most numbers, but never in a sleepy way – and there's plenty of nicely stepping tunes here that maintain a good sense of Motown rhythm, even in mellower moments. Titles include "Sad Song", "I've Been Good To You", "Every Little Bit Hurts", "Too Proud To Cry", "A Favor For A Girl", "Suddenly", "You Can Depend On Me", and "Can I". ~ Dusty Groove

New Releases: Diane Hoffman - Do I Love You; Darien Dean – Detours; Jim Snidero – Waves Of Calm

Diane Hoffman - Do I Love You 

Diane Hoffman is a multi-faceted talent - a jazzy, hard-swinging singer and an accomplished painter. Raised in Cambridge, MA, Hoffman earned a BFA from the California College of Art and later studied independently with famed painter Jacques Fabert in Erongarícuaro, Mexico (her works have been exhibited extensively in Mexico, Canada, and the United States). Hoffman’s singing debut was at the legendary Sonny’s Place, in Seaford, Long Island in the late nineties, and for years she has been igniting audiences throughout the Tri-State area and beyond with her emotionally charged singing. Her often unique repertoire is informed by her painter’s passion for narrative, tone, and balance, and she has been recognized for her rich-textured voice, keen rhythm and original phrasing, and natural feel for jazz and blues. Hoffman has recorded three albums as a soloist, Someone In Love (2000), My Little French Dancer (2007), and her latest release, Do I Love You The Jazz Network Worldwide

Darien Dean – Detours

The third great album from Darien Dean – a diversely talented singer, with an approach here that goes way beyond the usual! Darien can effortlessly belt out a contemporary soul tune – but he's also got this varied approach that really sets the album apart from the rest – as he seems to draw equally from jazz, soul, hip hop, and occasional global elements in his music – which makes for this varied rhythmic quality, and equally diverse sonic palette! The songs are tight, and confidently written – and Dean's delivery more than lives up to his words, on titles that include "Black Widow", "Last Song", "Autopilot", "Todamore", "Straight Up", "You're The One", "Best Is Yet To Come", and "Scorned". ~ Dusty Groove

Jim Snidero – Waves Of Calm

Jim Snidero's got a really wonderful group here – a combo that makes for a perfect complement to his phrasing on the record, which seems somehow even more magical than usual! The rhythms are open and spacious – lots of room between the notes, served up by bassist Nat Reeves, drummer Jonathan Barber, and the great pianist Orrin Evans – who also plays Fender Rhodes as well as acoustic piano on the session! The trio creates this great space that really seems to bring out new elements in Jim's playing – especially on the tracks that also feature Jeremy Pelt on trumpet, which is about half the album. Titles include "Waves Of Calm", "Visions", "Dad Song", "Estuary", "If I Had You", and "Truth". ~ Dusty Groove

Journeyman Phil Madeira follows his jazz muse into the wordless world of “Crickets”

The award-winning Americana singer-songwriter, multi-instrumentalist and producer indulges his passion for a retro straight-ahead jazz quintet collection that drops April 26.

A Nashville mainstay, Phil Madeira was Americana before it was a thing. His venerable pedigree as a singer-songwriter, multi-instrumentalist, producer and arranger is assured, backed by Grammy-winning credits and a lengthy discography boasting collaborations with Garth Brooks, Emmylou Harris, The Civil Wars, Elvis Costello, Alison Krauss, Toby Keith, Amy Grant, Mavis Staples, Keb Mo’, Bruce Hornsby and Vanessa Williams. Yet when this musician’s musician sits at the piano backstage or at home, it’s jazz-blues riffs that he noodles. On April 26, Mercyland Records will release Madeira’s first instrumental album, “Crickets,” comprised of ten new songs that he wrote and produced for a jazz quintet.    

The straight-ahead jazz rhythms and bluesy harmonies Madeira scripted for “Crickets” harken back to another jazz era.

  

“It’s slightly sophisticated blues, right out of the 50s and 60s playbook. I can hear bits and pieces of what turned me on as a kid - Ramsey Lewis and Herbie Hancock, and of course, Monk, whom I later discovered. I composed the music that became ‘Crickets’ thinking I would pitch it to a music licensing company for use in film. But then I realized that I had created something far more personal,” said Madeira, who recorded all ten songs in one day accompanied by Aaron Smith (drums), James Hollihan (guitar), Rahsaan Barber (saxophone) and Chris Donohue (bass).

“Crickets” swings with a cool vintage swagger as rendered by the breezy grace of the free-spirited quintet. Madeira’s piano skips with lilting joy through a panorama of melodies and grooves. The acoustic instrumentation makes it sound live - organic, spacious and unpretentious. The players weave in and out of the spotlight without ever infringing upon each other’s turf, taking equitable turns to solo. There’s a palpable lightness of being throughout the album, mirroring Maderia’s own grounded persona.     

Madeira’s co-producer on the session was Sirkka Svanoe Wood whose first name in Finnish means cricket, which is one of the inspirations for the album title. But there was another.

“All of my records up to this point have been lyrically oriented. This is the first instrumental record I’ve recorded, hence ‘Crickets’…as in not a word,” explained Madeira.

  

Last year, Madeira landed on the Billboard jazz albums chart for the first time with “Providence,” a vocal record that veers into jazz, chronicling his stories of growing up in Rhode Island. Guitarist John Scofield guested on that date. Madeira has been in Harris’s Red Dirt Boys band for eleven years playing piano, guitar, accordion and singing. The seeds of his multi-instrumental prowess were sown after he went from drums to piano when struck by the desire to write songs, before picking up the guitar. He got his professional start in the mid-70s playing with Christian Contemporary Music guitar great Phil Keaggy, leading to the move to Nashville in 1983 where he has been based ever since. Madeira quickly became a fixture there by playing a variety of instruments as a first-call session ace, songwriter, arranger and producer for a lengthy list of country, CCM and pop artists, many of whom were seminal in creating the Americana sound. He has won Grammy and Dove awards as a songwriter, a Nashville Music Award as best keyboardist and an ASCAP award for humanitarian work. “Crickets” is his eighth solo outing.      

“Crickets” contains the following songs:

“Sirkka’s Dream”

“Cut It Out”

“Cricket”

“Teamwork Salad”

“Rollin’ With Oti”

“Last Call At Bovi’s”

“Swingset”

“In Walked Willis”

“Jazz Hands”

“Coming Home”

http://philmadeira.net

Coming Soon From Guitarist Chris Standring: Best Of Chis Standring Remixed

We reived some big news from Guitartist Chris Standring. His upcoming Best Of Chris Standring Remixed album will be released on June 21st of this year. He plans on having physical copies for the two upcoming Spaghettini, Seal Beach dates. His Saturday May 25th show is almost sold out so if you are planning to go to one of those shows, jump in now while tickets are still available.

Chris' two remix guys Matt Cooper and Rodney Lee have taken the reins for most of the project (Chris remixed a couple himself). He says it get's pretty experimental in some places, but for the most part it's seriously funky. Here's what the CD & digital track list looks like:

01: Stop It! (Mercury Mix 2019) 5:51

02: Fast Train To Everywhere (Jupiter Mix 2019) 4:31

03: Bossa Blue (Outside Mix 2019) 6:15

04: Kaleidoscope (Neptune Mix 2019) 5:07

05: Liquid Soul (Venus Mix 2019) 6:28

06: Pandora's Box (Saturn Mix 2019) 4:18

07: Sneakin' Out The Front Door (Earth Mix 2019) 4:53

08: Soul Express (Love Mix 2018) 4:40

09: Oliver's Twist (Outside Mix 2012) 5:38

10: Constellation (Galaxy Mix 2018) 6:05

11: Ready Steady Flow (Outside Mix 2019) 6:38

12: Kaleidoscope (Cake Mix 2019) 4:46

The vinyl version will be a little different, bearing in mind you only get around 22 (quality) minutes per side.

Side 1

01: Stop It! (Mercury Mix 2019) 5:51

02: Fast Train To Everywhere (Jupiter Mix 2019) 4:31

03: Bossa Blue (Outside Mix 2019) 6:15

04: Pandora's Box (Saturn Mix 2019) 4:18

Side 2

01: Liquid Soul (Venus Mix 2019) 6:28

02: Kaleidoscope (Neptune Mix 2019) 5:07

03: Sneakin' Out The Front Door (Earth Mix 2019) 4:53

04: Soul Express (Love Mix 2018) 4:40

All tracks not featured on the vinyl version will be available as free downloads.

New Orleans Jazz Orchestra Returns from 3-Year Recording Hiatus With "Songs: The Music of Allen Toussaint"

New Orleans Jazz Orchestra SONGS The renowned New Orleans Jazz Orchestra reflects on the wide-ranging influence of the Big Easy's own Allen Toussaint, the legendary composer, singer, pianist, and producer, with the March 29 digital release of Songs: The Music of Allen Toussaint on Storyville Records (physical release is set for April 19). The album features six songs by Toussaint and one associated with him, as well as two original tribute pieces. It also marks the NOJO leadership debut of drummer/artistic director Adonis Rose, who assumed the mantle in 2016 to navigate the 18-piece orchestra out of the troubled waters surrounding its now-departed founder.

Toussaint, who passed away in 2015, left his deepest footprints in R&B and rock 'n' roll. However, he was also a major figure in the development of New Orleans funk; resonated in country music (by way of Glen Campbell's smash hit cover of "Southern Nights"); and, of course, was steeped in jazz. "[It] was in his blood," Rose says. "There's always some connection to jazz: When you're from New Orleans, there's no way around it."

When frequent NOJO collaborator Dee Dee Bridgewater remarked that she'd never heard a big band take on Toussaint's music, Rose was instantly inspired. "I said, 'You know what? Yes. That's a great idea. Let's dig into this and make it happen!'" he says.

The results honor not only Toussaint, but the broader musical culture of his hometown. The iconic "Working in the Coal Mine" does not feature a singer, but the band members make New Orleans shouts out of its well-known lyrics. "Southern Nights" takes on a brass-band street groove, while "Java," a Toussaint-penned 1963 instrumental hit for trumpeter Al Hirt, retains and even amplifies the original record's raucous second-line feel. New Orleanian percussionist Gerald French contributes the original "Gert Town," which he flavors with the music of Mardi Gras Indians.

Toussaint's ballads get attention, too, with help from a powerhouse set of vocalists. Bridgewater brings her vitality to the beautiful "It's Raining" and "With You in Mind," the latter in a duet performance with New Orleans vocalist Philip Manuel. The rhythm & blues staple "Ruler of My Heart" takes on new majesty at the hands of Nayo Jones, NOJO's house vocalist -- and a newly swinging energy in its second half, thanks to Rose and the orchestra.

Adonis Rose Adonis Rose was born January 11, 1975, in New Orleans, the scion of a musical family. He began playing drums at 3 years old, following in his father and grandfather's footsteps, and as a teenager became enamored with the music of fellow New Orleanians Wynton and Branford Marsalis -- with whose father, Ellis, Adonis studied at New Orleans Center for Creative Arts (NOCCA). 

Rose won a prestigious presidential scholarship to Berklee College of Music in Boston; just afterward, however, Terence Blanchard called and invited him to tour. "So two days after my high school graduation I went out on the road with Terence. That was my first gig," he recalls. He continued to get work with Betty Carter, Marlon Jordan, and the Lincoln Center Jazz Orchestra, ultimately dropping out of Berklee to go on the road and make a home in New Orleans.

In 2002, Rose became the founding drummer for the nonprofit, Grammy-winning New Orleans Jazz Orchestra (NOJO), the only institution in jazz's birthplace that is committed solely to the music's development. He maintained that position even after moving to Fort Worth, Texas, in the wake of Hurricane Katrina, where he taught at the University of Texas at Arlington and established the Fort Worth Jazz Orchestra. Rose moved back to the Crescent City in 2015, by which time NOJO was his steadiest gig -- soon to be his full-time one.

For all its uplift of Allen Toussaint and of New Orleans, Songs is also a personal triumph for Rose. Following the controversial departure of founder Irvin Mayfield from NOJO and its subsequent loss of institutional support, he set himself to the fearsome task of rebuilding the orchestra while keeping its sterling musical reputation intact. He succeeded.

"Almost all of our shows since we started back have sold out," he says. "All of the band members, every single last one of them, came back. The musicians who built this organization, put it on their backs night after night, those are the ones that are doing it again now, along with me." Songs thus stands as a monument to Rose's accomplishment.

The orchestra will be performing a CD release show at its home base, the New Orleans Jazz Market, on Fri. 3/29, with other shows at the same venue to follow on Fri. 5/3 (a tribute to Whitney Houston) and Thurs. 6/6 (a tribute to Prince). NOJO is scheduled to perform at the Exit Zero Jazz Festival, Cape May, NJ, 4/13; the New Orleans Jazz & Heritage Festival 4/28; the St. Lucia Jazz Festival 5/8-10 (the NOJO 7,with guest vocalist Ledisi); the Ascona Jazz Festival, Switzerland 6/18-30 (in various configurations); and the Detroit Jazz Festival 9/1 (with guest vocalist Dee Dee Bridgewater). NOJO will head to New York later this year for a two-night stand at Jazz at Lincoln Center's Appel Room (12/13-14, with guest vocalist René Marie). Rose, who has also recently been performing with vocalist Kurt Elling's band, is already planning future recording projects with the orchestra, including one with vocalist Ledisi and a Brazilian-themed album. "With a new recording project, touring schedule, and new leadership," says Rose, "the New Orleans Jazz Orchestra is poised for success and committed to spreading our music around the world."